The great American film critic Manny Farber memorably declared space to be the most dramatic stylistic entity in the visual arts. He posited three primary types of space in fiction cinema: the field of the screen, the psychological space of the actor, and the area of experience and geography that the film covers. This book brings together five French directors who have established themselves as among the most exciting and significant working today: Bruno Dumont, Robert Guediguian, Laurent Cantet, Abdellatif Kechiche, and Claire Denis. It proposes that people think about cinematographic space in its many different forms simultaneously (screenspace, landscape, narrative space, soundscape, spectatorial space). Through a series of close and original readings of selected films, it posits a new 'space of the cinematic subject'. Dumont's attraction to real settings and locality suggests a commitment to realism. New forms and surfaces of spectatorship provoke new sensations and engender new kinds of perception, as well as new ways of understanding and feeling space. The book interrogates Guediguian's obsessive portrayal of one particular city, Marseilles. Entering into the spaces of work and non-work in Cantet's films, it asks what constitutes space and place within the contemporary field of social relations. The book also engages with cultural space as the site of social integration and metissage in the work of Kechiche, his dialogues with diasporic communities and highly contested urban locales. Denis's film work contains continually shifting points of passage between inside and outside, objective and subjective, in the restless flux.
You're not logged in.
You're not logged in.
You're not logged in.
You're not logged in.
Search for other papers by Sam Rohdie in
Current site
Google Scholar
PubMed
Narrative is the consequence of an historical situation largely codified in the nineteenth century in the novel and in History writing, though also in painting and in theatre, and after the turn of that century, in film. Godard’s films, from his first to his most recent, dismantle that tradition. His work is less a rejection of narrative as it had been practised (and largely still is), as it is a fragmentation and reordering of it, subjected to insistent interruptions, like a bell sounding or a telephone ringing in its midst.
In a Godard film, interruptions are not less important than what is interrupted, indeed the distinction between major and minor, representation and punctuation, the narrative and digressions from it, have little sense. All elements are equal (equally forms) and there is no classification system with all that implies of order and illustration. If his films, and especially his Histoire(s) du cinéma, are dense with citations and examples from the past, these are more like a collection or artistic options than a museum or archive ordered by fictions of classification. The combination of the indifference of elements to hierarchy, their resistance to a fixed order and place and their apparent equality in Godard’s work establishes each element as autonomous and particular and also as available for rearrangement hence the instability, circularity and sense of possibility in his films, their lack of finish and their energetic ceaselessness, porosity and meandering and thereby also the problem of speaking about them. How do you get hold of, begin to possess a Godard work which is so unfixed and opaque?
All of MUP's digital content including Open Access books and journals is now available on manchesterhive.
| All Time | Past Year | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 72 | 17 | 2 |
| Full Text Views | 29 | 0 | 0 |
| PDF Downloads | 22 | 0 | 0 |
The life of mise-en-scène
Visual style and British film criticism, 1946–78
This book explores the role of mise-en-scene in melodrama criticism, and considers what happened to detailed criticism as major theoretical movements emerged in the 1970s. Mise-en-scene, and other ways of conceiving visual style, has been central to so many important debates that the writing examined in the book shaped the field in enduring ways. The book provides a cross-section of the British culture and its attitudes to film. It also considers a range of important contexts, from material conditions of film viewing (and therefore criticism) to the cultural and political shifts of 1956. The book further investigates the frequently asserted connection between literary criticism and the approaches developed in Movie. It identifies the range of different approaches to interpreting mise-en-scene advanced in Movie, drawing out sections on action, camera movement and placing, connections between different parts of the film, and a range of further debates. 'Tales of Sound and Fury' is an extraordinary article, and Elsaesser's appreciation of the plastic and expressive qualities of domestic melodrama and the broader melodramatic tradition is exemplary. In the early 1970s, writing on melodrama provided some of the richest expressions of mise-en-scene criticism. The book embodies a number of approaches which were to undermine the emergent interest in the interpretation of the film style. Melodrama criticism is a crucial focus for shifts in film criticism and theory, and for this history.
In the full-length treatment of the child in Spanish cinema, this book explores the ways that the cinematic child comes to represent 'prosthetic memory'. The cinematic children in the book retain traces of their mechanical origins: thus they are dolls, ventriloquists' dummies, cyborgs or automata. Moreover, by developing the monstrous undertones evoked by these mechanical traces (cinema such as 'Frankensteinian dream'), these films, in different ways, return repeatedly to a central motif. The central motif is the child's confrontation with a monster and, derivatively, the theme of the monstrous child. Through their obsessive recreation over time, the themes of the child and the monster and the monstrous child come to stand in metonymically for the confrontation of the self with the horrors of Spain's recent past. The book focuses on the cine religioso (religious cinema), in particular, Marcelino, pan y vino. The children of cine religioso appear like automata, programmed to love unconditionally an absent mother. The book then examines the Marisol's films from the 1960s and the way she was groomed by her creators to respond and engineer the economic and cultural changes of the consumerist Spain of the 1960s. It further deals with Victor Erice's El espiritu de la colmena and works through cinematic memories of this film in later works such as El laberinto del fauno, El orfanato and El espinazo del diablo. The films are seen to gesture towards the imaginary creation of a missing child.